MultiCity: April 2 - April 20
Creative diversity among L.A. photographers. An official exhibit for Month of Photo LA (MOPLA.org)
Artists include: Ryan Schude, Dan Busta, Darren Saravis, Echo Lew, Jerry Uelsmann, Marco Gualtieri, Gwen Adler, Teresa Flowers, Mark Hanuaer, Calethia DeConto, Garret Suhrie, Domenico Foschi, Renée Jacobs, Susie Loucks, Harry Wilson.
Monster Photo Gestalt: April 16 - April 30, 2016
Curator and artist Airom creates a surreal landscape populated by monsters in this exhibit featuring a large scale collage using the works of many photographers. Detailed imagery of human and animal body parts are assembled into composite creatures that inhabit a world built from landscape photography. Come take a walk through this unique habitat of imaginative flora and fauna.
Artists Include: David Dumo, Marcus DeSieno, Lori Pond, Debra Behr, Nabil TAZI, Lauren K Barwood, Cameron McIntyre, Maureen Haldeman, Susan Mac, Allan Peach, Heather Roessler, Allyson Marie, Mara Zaslove, David Skernick, Robin Cohen, Amy Kanka Valadarsky, Mitch Cullin, Federico, Clea Jones, Bernard Wolf, Fong Lien, Organa Meets, Airom, Susie Loucks, Leonard Monje, Ip Hoi Wan, Robert Zagorski and more to be announced.
photo: Darren Saravis, The people's republic of china law for the prevention of water resources pollution
#G8A / 310-906-4211 / bGartdealings.com
Building Bridges Art Exchange (BBAX) is a non-profit (501) (C3) contemporary art organization. Our mission is to help cultivate cultural understanding through the arts. We work to engage local communities and contemporary artists across the globe by facilitating workshops, educational programs, international art exchanges and artist residencies. We work in partnership with museums, galleries, Ministries of Culture, cultural art centers, art organizations and foundations from around the world—at present over 17 countries.
. . .
BUILDING BRIDGES ART EXCHANGE
BBAX INTERNATIONAL ARTIST PROGRAM
Alessandro Cardinale / Angel Ricardo Ricardo Rios / Mohamed Abouelnaga / Petra Eiko / Mostapha Romli / and more...
SATURDAY, MAY 21ST - THURSDAY, JUNE 30TH
. . .
Join us at
BUILDING BRIDGES ART EXCHANGE
to welcome our NEW artists in residence
Building Bridges Art Exchange welcomes our newest artists-in-residence,
Samira Nowparast of Iran and Marco Miranda of Mexico
to produce a new body of work in situ at BBAX Gallery.
Join us to view the artists in action!
BUILDING BRIDGES ART EXCHANGE
2525 Michigan Ave, Unit F2, Santa Monica
Focusing on museum quality installations showcasing emerging artists, Copro also exhibits many established and master painters. Placing works in museums and private collections throughout the world, Copro strives to assist collectors new and experienced in building the most exciting collections possible.
right left with heels by Sebastian Majewski
July 8—August 14, 2016 / Fridays, Saturdays @ 8:00pm; Sundays @ 3pm
Box Office: 310-453-9939 or purchase tickets online: http://www.brownpapertickets.com/event/2565538
right left with heels recounts the story of the Holocaust and post-war Poland from the ironic perspective of a pair of high heel shoes that once belonged to Magda Goebbels, wife of Nazi Germany’s Minister of Propaganda. The shoes, who may have inherited her racist point of view, tell their own story: from their manufacture in Auschwitz to their tragic end on the feet of a transvestite murdered by contemporary Polish “patriots.” Magda Goebbel’s wandering shoes provide a poignant and provocative insight into individual guilt and wickedness, and addresses accountability in the face of history from the end of WW II to today’s frightening rise of the new right.
Opening Weekend Q&As with playwright Sebastian Majewski:
Polish scholar and journalist Eva Sobolevski will moderate a post-performance discussion with Sebastian Majewski after each of the first three performances (July 8, 9, 10).
There will be an additional discussion with cast and crew Sunday, July 31 after the 3:00pm performance.
Visit www.citygarage.org/ for more information.
John Humble: DTLA
Dan McCleary: Small Works
Javier Carrillo, Roberto Ortiz, Jairo Perez: Work from Art Division Print Collective
Gilbert "Magu" Luján: Works on Paper
May 28 - July 2, 2016
Reception: Saturday, May 28, 5-7pm
Gallery Talk with the Artists: Saturday, June 4, 11am
Los Angeles Center of Photography
Gallery I: Second Annual LACP Student Street Shooting in LA
Gallery II: Artificial Memories
Opening Reception June 18th, 2016, from 6-8pm
The exhibit runs though:
June 18 - July 23, 2016
Los Angeles Center of Photography
LACP’s Student Street Shooting Class, is comprised of 30 photographers engaged in a street shooting program at the Los Angeles Center of Photography (LACP). All photographs are taken in various locales of Los Angeles including downtown, Venice Beach, Hollywood Blvd., and Beverly Hills.
Al Fielder, Andy House, Ann Toler, Anthony Grippa, Autumn Kurtz, Basak Prince, Ben Bacon, Carole Scurlock, Caryl Lightfoot, Chung Ching Kuo (Bob), Connie Rosenthal, Dotan Saguy, Erin Rottman, Gail Just, Graham Marriott, Jerry Drapala, John Rankin, Kathleen Coiner, Kevin Weinstein, Kim Sudhalter, Lauren Wilner Leba Marquez, Lynne Rosen, Michael Beller, Rob Krauss, Safi Alia Shabaik , Stephanie Asch, Stephanie Cueneo, Thouly Dosios, Tom Szabadi, Wednesday Aja, Wesley Du, and Yvette Marthell.
Grayhorse combines color and wonderment as a consistent thread throughout her work. She uses a wide-ranging influence of styles in art, photography, and fashion combined with old and new pop culture influences, which inform her distinct point of view. The sets and locations are constructed installations that create a platform for performance art acted solely by herself and her subjects. Grayhorse uses these offbeat characters she comes across in her daily life as artistic inspiration. Much of her motivation is also drawn from her daughter, who serves as a constant muse and model in her work. Grayhorse’s portraits show her deep interest in the unique human expression. Through the use of her lens, she creates strange beauty and satire, eliciting emotional and social responses in the viewers. By maintaining hints of reality within the frame, the work suggests a represented truth dressed in fantasy.
Portraits of Africa
APRIL 21, 2016 - MAY 28, 2016
Reception for artist: Thursday, April 21, 7-9 pm
Duncan Miller Gallery presents Russian photographer Anton Lyalin's first west coast exhibition. Lyalin has spent months in Africa photographing big game in the wide open plains of remote Africa.
Mitsuko Namiki "New Paintings"
Theresa G Fernald "Recent Work"
at FIG, June 29 - July 30. Reception, July 9, 5 - 7 PM.
Fernando de Szyszlo Sombras y Sueños
May 28 - July 2, 2016
Artist Reception, Saturday, May 28th, 6 - 8 PM
Suite E2, Tuesday - Saturday 11 - 6 PM
Latin American Masters is pleased to present, Sombras y Sueños, recent paintings by Fernando de Szyszlo (Peru b.1925). Widely regarded as one of Latin Americas most important living artists, Szyszlo’s paintings are a synthesis of the historical avant-garde and Pre-Hispanic cultures. He painted in Europe from 1949 to 1955, where he met Andre Breton, Rufino Tamayo and Octavio Paz, among others. Upon his return to Peru, his international reputation was established by a series of major exhibitions, including: The Emergent Decade, Solomon R. Guggenheim Museum, New York (1966) and Latin American Art Since Independence, Yale University Art Gallery, New Haven (1967). Szyszlo is a key figure in the evolution of post-war abstraction. His paintings, though formally compelling and fully conversant with the history of art, inhabit an atavistic and visionary universe.
May 17 - Jul 23
Reception: May 21, 1-4pm
“Cendrillon” -- French for “Cinderella” -- is perhaps synonymous with fantastic transformation. Much like the iconic fairy tale, Houston-based artist Cara Barer’s process is rooted in dramatic change. Using the pages of discarded novels, phone books, dictionaries -- even a Windows 95 user manual, Barer’s materials are repurposed from neglect.
Pages are dyed, ruffled and carefully arranged in circular forms, their bindings elegantly twisted. Echoing spiritual mandalas or blooming flowers, these altered pages are reborn as vibrant sculptural objects before being photographed. “I arrive at some of my images by chance and others through experimentation. Without these two elements, my work would not flow easily from one idea to the next.” In works like "Cendrillon", pages are fancifully curled as brightly colored illustrations peek from the shadowed folds - a hint of its former life. Other works like "Indigo" are skillfully dyed, rich in shades of deep blue with pages opened in a seemingly swift motion, creating a cover-to-cover circle.
Transformed by color and arrangement, these books are equipped to take on new meanings as sculptural objects that are photographed and printed at a large scale - blurring the lines between object, sculpture, and photography. Through this transformation and documentation, Barer meditates on obsolescence and the relevance of libraries and the printed page in this century. “Books, physical objects and repositories of information, are being displaced by zeros and ones in a digital universe with no physicality,” says Barer.
CENDRILLON records the transition of books from ubiquitous staples of information, to passing ephemera in an increasingly digitized world. Barer’s works are part archival and part still life studies that question the future of the printed text.
Cara Barer (b. 1956) lives and works in Houston, Texas. She studied at the Art Institute of Houston, the University of Houston and the Glassell School of Art. Barer has been represented in numerous exhibitions across the U.S. and Canada. Her work has been reproduced in several publications, including Art Made From Books: Altered, Sculpted, Carved (Chronicle Books, 2013), New York Magazine, Photonews, and The Houston Press. Barer’s work is featured in several private and public collections, including VISA, UCLA Special Collections, Danielle Steel, Bloomingdale’s, Lehigh University, Nordstrom, Nationwide, Wells Fargo Bank and the Museum of Fine Arts, Houston, among others.
For more info: email us at firstname.lastname@example.org.
Visit LILLA BELLO in Bergamot Station. Fresh, daily florals, event and wedding styling, and a specially curated lifestyle shop await in F1b
STRAIGHT FROM CUBA
A WOMAN’S PERSPECTIVE
ALICIA DE LA CAMPA PAK, LAURA CARRALERO MORALES, BELSY COBIELLAS CRUZ, LISANDRA ISABEL GARCIA, ADISLEN REYES PINO
May 14th, 2016 – July 10th, 2016
Opening reception Saturday, May 14th, 6-9pm
Last year’s widely acclaimed "Straight from Cuba" exhibition at the Lois Lambert Gallery showcased three male Cuban artists. Beginning May 14th, and continuing through July 10th, the Gallery will present a follow-up exhibition including the works of six female Cuban artists titled “Straight from Cuba: A Woman’s Perspective.” This group exhibition features work by Alicia de la Campa Pak, Laura Carralero Morales, Belsy Cobiellas Cruz, Lisandra Isabel Garcia, and Adislen Reyes Pino.
Each artist's work reflects Cuba’s current cultural and political concerns, social dynamics and gender issues. Female artists are challenging the meaning of "feminine", by exploring the stereotypical attributes so often applied to them.
BELSY COBIELLAS CRUZ paintings are scenes that often include interactions from daily life as well as mythological characters. Often in her paintings she will use old colonial decorative elements to create the patterns that she paints. Cruz has intently developed a feminine aesthetic. Cruz paints with bright colors like violets or pinks and is inspired by domestic themes; daily life in Cuba, Cuban folk stories, her own dreams and the interactions between her children. She begins painting on the canvas directly with acrylic paints in ochre and sepia tones. Cruz uses a monotype technique in which she paints on the glass and presses it against the canvas, always leaving some of the raw canvas exposed in parts of the drawing. Due to the fast drying nature of acrylic, she has to move quickly over the canvas moving back and forth between drawing and painting.
Belsy Cobiellas Cruz comes from a family of artists and art professors. Her father is an artist. Cruz herself went to study at a Vocational School of the Arts at 11 years old. She graduated from the Academy of San Alejandro in Havana, Cuba with a degree in art focusing on painting. Cruz has had a long career as an exhibiting artist in Cuba and has participated in several exhibitions in Europe.
LAURA CARRALERO MORALES is in love with architecture. Morales believes that when we visit a place for the first time our senses leave us with unique emotions that can’t be experienced again. Immediately after an initial visit, Morales begins to paint in an effort to capture the feelings she experienced in that virgin moment. In her “Catedrales” series, Morales paints over the blueprints of Gothic cathedrals. The juxtaposition of painting and architecture highlights the relationship between the organic and the structural.
Laura Carralero Morales is a young artist from Cuba. In 2015, Morales earned a Masters of Fine Arts from the Instituto Superior de Artes. She has participated in several solo and group exhibitions in Havana. This is her first exhibition outside Cuba.
LISANDRA ISABEL GARCIA is a mixed media, installation artist and painter. The paintings in this exhibition are part of a series that takes from the tradition of using the female body as a representation of the sensual. The artist explores the contrast between past and present ideas of beauty. Garcia, a skilled draftsman, paints in a graphic style. Black line silhouettes depict women wearing basic underwear and lingerie. Her influences are European classics, such as, Tiziano, Velazquez, Ingres, Goya, and Boticelli. Lisandra compares the European ideologies of beauty to the ideologies she feels are forced on her today. She paints inside the underwear the details of paintings such as “The Birth of Venus” or “La Grande Odalisque.”
Lisandra Isabel Garcia acquired her Masters in Fine Arts from the Higher Institute of Arts (ISA) in Havana, Cuba where she now permanently resides. Garcia’s work has been featured in multiple exhibitions internationally, including an exhibition in the Freies Museum in Berlin, Germany.
ADISLEN REYES PINO draws her inspiration from the personal narrative. Pino’s creative process stems from the idea that the personal angst of the individual often reflects the trepidations of the public realm. For this exhibition Adislen will be showing work from her ongoing series of drawings titled “Crisis.” The concept behind this series began from Adislen’s own existential crisis, which she feels could be read “as the crisis of an entire generation that has many questions, unrest, dissatisfactions and concerns similar to mine.”
Instead of creating spectacular images of catastrophes to portray that anxiety, Pino opts to use small scale, simple and clean drawings that convey calmness. A calmness that Adislen feels communicates more explicitly the anxiety felt when one comes across those existential questions about the world today.
Adislen Reyes Pino was born in Havana in 1984. She graduated from the Higher Institute of Arts and the San Alejandro Academy of Fine Arts, where she is now working as a professor. Pino’s work has been exhibited in several solo exhibitions in Havana, Cuba. Her work has been featured in the Taipei Fine Art Museum in China, The Art Museum of the Americas in Washington DC and the Museum of Contemporary Art and Design in Costa Rica. In addition, Pino has participated in many themed group exhibitions internationally, dealing with issues of the Cuban avant-garde, gender identity and book art. In the United States, Pino has shown in California, Connecticut, New Jersey, Florida and New York.
ALICIA DE LA CAMPA PAK paints a dreamscape influenced by Cuban and Western art history. By creating characters, poses, and costumes derived from Western European art, Alicia creates her own aesthetic. Echoes of the depictions of everyday women in floral headdresses and elaborate decorative elements in paintings by Cuban artists René Portocarrero and Servando Cabrera Moreno also find their way into Pak’s compositions. Using her own body as a template, she paints mythological-like figures influenced by everyday activities of women in Havana. Pak describes the women in her paintings and drawings as: "my alter ego, living in my dreams, my inner world, symbols of life, beauty, knowledge ... ". In her painting “La Vendedora Ambulante” (“The Traveling Woman Vendor”) she depicts a street vendor in a regal position as if sitting on a throne covered in flowers and butterflies. The fantasy is infused with the optimism that anything is possible for the everyday woman of Cuba. The paintings in this current exhibition are part of her series titled “Habaneras,” a colloquial term that refers to women walking about their daily lives in Havana.
Alicia de la Campa is a Cuban painter, engraver, illustrator and art professor who resides in Havana. Alicia graduated from Havana´s San Alejandro Art School, and she went on to earn an MBA in Visual Education at the Enrique José Varona Higher Pedagogical Institute. Alicia is a member of the National Union of Cuban Writers and Artists (UNEAC.) She has had numerous solo and group exhibitions in Havana, New York, Chicago, South Korea, Mexico, Panama, Madrid and Slovakia. Her work is included at: The International Encyclopedia of Fantastic & Surrealistic & Symbolist & Visionary Artists, Germany 2009; "Cuba Arte: La mujer en el foco de la creación artística, desde el fin de la colonia hasta el presente" Germany 2010; and the International Catalogue of Modern Art 2012-2013, Cida, Italy.
Lora Schlesinger Gallery presents select works by Vija Celmins, Al Held, Jasper Johns, Robert Rauschenberg, Ed Ruscha and more.
Lora Schlesinger also presents Beefcake, a series of photographs by Michael Gregg Michaud.
A genre as old as the camera, beefcake photography celebrates and eroticizes the male form. Throughout the years beefcake has informed fashion photography, advertising, and promoted celebrity stardom. But what was once provocative and shocking is now commonplace. To titillate, the boundaries have constantly been pushed to the limit to accommodate changing times. Pornographic films have graduated from grainy black and white 8mm silent short films to big budget movies with estimable production values. Michael’s photos explore the mystery of the X-rated star by stripping the man bare of his “sex-persona”. Through his camera lens, he wanted to find the man behind the X-rated artifice. Each portrait is a record of the challenge to find eroticism in the implication or absence of nudity.
Carlson Hatton: Black Hills @ Patrick Painter, Inc.
Patrick Painter is pleased to present an exhibition featuring new paintings by Los Angeles artist Carlson Hatton
Joakim Ojanen: What a Time to be Alive :(
June 25th - July 30th, 2016
What A Time To Be Alive :( contains new ceramic sculptures and oil paintings by Swedish artist Joakim Ojanen. This is Ojanen's first solo exhibition at Richard Heller Gallery and in the United States.
Ojanen has been living in Los Angeles for the past few months creating work for this exhibition and will be attending the opening reception on June 25.
About the artist:
Joakim Ojanen's artwork embodies the inner child within all of us. He creates a deeply personal universe full of unique characters that automatically win the heart of the viewer with their sincerity. His paintings and ceramic sculptures capture genuine moments of human expression. When they are grouped together they create delicate and emotionally charged narratives. While maintaining a sense of humor they manage to hit an intense spot in the human psyche, perhaps a subconscious adolescent need none of us ever get over; the desire to belong. Piece by piece each of Ojanen's works tells a story about finding one's way in the world and reminds us it's okay to be ourselves.
Ojanen's distinct and organic path as an artist begins in Västerås, Sweden. He entered into the arts through graffiti. For him, it was a creative outlet, which intrigued his interests in other types of art mediums. He learned how to use animation programs and began to make short movies and music videos. He also pursued drawing, publishing fanzines and organizing art shows.
These endeavors led to his enrollment in the Illustration and Graphic Design program at Konstfack, University College of Arts, Crafts and Design in Stockholm. After a couple of years, he decided illustration wasn't for him. Seeking a hobby, Ojanen signed up for a ceramics open studio session outside of school. It was during these sessions that he started to make sculptures from his drawings.
Ojanen's passion for independent studies has fostered an extensive understanding of his materials. In fact, it is his relationship with paint and clay that guide him in each of his creations. He embarks on making his portrait paintings by first drawing a small sketch. Bringing it to the canvas, he aims to make his idea come alive. There is a negotiation that happens between the paint and his brush strokes. The resolution determines when each painting is complete. To start his sculptures Ojanen goes straight to the clay. Once the process is initiated he then allows it to take the lead until a finished piece emerges.
His ability is demonstrated well in Sitting Wondering a sculpture that depicts a boy hugging his knees while grasping a pen and notebook. The use of texture and precise gesture reveals a vulnerability that resonates long after viewing it. And in turn, the audience is invited to explore a deeper level of intuition.
One notices Ojanen's iconography is reminiscent of a comic book language. In pictorial terms, his artwork hints at the works of Philip Guston, Keith Haring and at times the Surrealist paintings of Salvador Dali. However Ojanen states, 'It's dangerous to look at one artist too much.' Instead, a framework of emotions structures Ojanen's introverted creative process. 'I work a lot with feelings. I would say that is the main core of my work. It's about finding the right posture, the right eyes, smile and so on, (in order) to capture something I couldn't make up in my mind. It's about trying until I get something that feels right.'
Ojanen cites music as his biggest source of inspiration to his artwork – and lists his favorites as Drake, Young Thug, and Wu-Tang Clan, just to mention a few. Listening to rap while working in his studio is an integral part of his process. As he interacts and alters his materials he harnesses the raw energy of it and reflects the autobiographical lyrics in his use of narrative.
A genuine talent, it is worth spending time navigating through his profoundly sensitive universe of work. Ojanen exhibits his art widely in Sweden and is represented by the Richard Heller Gallery in Los Angeles.
- Laura Mylott Manning is a New York-based artist and writer. She holds a BFA from Rhode Island School of Design and is a contributor to the WCPUN journal Centerpoint Now. email@example.com
With support by The Swedish Arts Grants Committeé
MED STÖD AV KONSTNÄRSNÄMNDEN
The Body Electric
Photographs by Jeff Charbonneau & Eliza French
April 2 - May 7, 2016
In conjunction with MOPLA
ROBERT BERMAN GALLERY is pleased to present a solo exhibition of photographic works by Jeff Charbonneau & Eliza French. Known for their large-scale, narrative-driven tableau photographs, Jeff Charbonneau & Eliza French have honed their visual language through ten years of ongoing collaboration. The Body Electric revisits early periods of intensive experimentation with light painting, in-camera illusions, costuming and performance, that became the foundation for the duo's artistic practice. Included in the exhibition are figure studies, landscapes, and abstract works printed as intimately scaled silver gelatin and pigment prints, as well as unique polaroids.
ROSEGALLERY is pleased to present Dirk Braeckman’s premiere west coast, solo exhibition, on view from 30 April 2016 through 13 August 2016. The reception for the artist is Saturday, 30 April 2016, from six to eight pm.
First experimenting with photography in the 1980’s, Dirk Braeckman’s work has evolved into a singular form that evokes minds of sensual ambiguity and intimate solitude. Through the use of black and white, analogue photography and dark lab techniques, the artist develops a relationship between what is photographed and post-production manipulation. This relationship allows for the found, often commonplace subject…a row of curtains, an empty doorway or a woman’s crossed legs…to arrest attention and command a space that is ordinarily unobserved.
Braeckman transforms the darkroom into a field of experimentation, working closely with the materiality of the photograph. This intimate relationship with his photographic materials mirrors the intimate perspective when photographing his subjects. By utilizing tonalities of the gray-scale and focusing on acute details, such as the folds of afabric or the curvature of the female form, Braeckman asks the viewer to engage with simple subjects that are often lost in shades of gray.
Seiko Tachibana "Link"
June 11 - July 23, 2016
Ruth Bachofner Gallery is pleased to announce an exhibition of new work by Seiko Tachibana. There will be a reception for the artist on Saturday, June 11, 6-8 PM.
Recognized as one of the Bay Area’s premier printmakers, Seiko Tachibana's work is built around concept of connectivity and creating unified wholes from smaller pieces. This has been a central theme throughout her career, and continues as she moves from printmaking to working more with ink and acrylic.
Seiko Tachibana engages a graphic language of delicate markings to impart the sense of a slow organic process whose floating, mutating motion has been suspended and magnified. Using incredibly fastidious markings, the artist creates an array of fanciful, clustered images with botanic, celestial, cellular and aquatic references. While in past work these interactions occurred on spare, muted backgrounds, Tachibana now includes a more painterly approach. Dripping, scraped and layered washes adds a physicality to the work and imparts a more emotive immediacy to the work. The result is a series of quiet, poetic spaces shaped by Tachibana’s technique that is at once exacting and playful.
Seiko Tachibana was born in Osaka, Japan and attended Kobe University. She received her graduate degree in printmaking from the San Francisco Art Institute and currently lives and works in the San Francisco Bay Area. Her prints are in numerous collections both in the United States and abroad including the Los Angeles County Museum of Art and the Achenbach Foundation for Graphic Arts at the California Palace of the Legion of Honor, The Portland Museum and The Royal Museum of Fine Art, Antwerp.
RuthTrotter "Frames of Reference"
June 11 - July 23, 2016
Ruth Bachofner Gallery is pleased to present Frames of Reference, an exhibition of new work by Ruth Trotter. There will be a reception for the artist on Saturday, June 11, 6-8 PM.
In her first exhibition at the gallery, Ruth Trotter brings together a series of paintings that embody a narrative between material and inner spaces that the artist explores through abstraction. The physical progression of her paintings and the psychological spaces she accesses through her process generate a series of intimately scaled paintings, dense with opposing forces and harmonies. Each of her paintings, which initially come off as flights of painterly fancy, are studies on the focus of intention. Seemingly intuitive smears and sketches that sit next to geometric shapes and sharp lines, converge as systematically as paragraphs in a sentence. The forms build and jostle in painterly stories shaped from numerous reference points. While the artist does tap her intuition as a means to an end, the final works are grounded with a crisp grittiness - her blithe palette gives a feminine edge to paintings that seem at once to carry the levity of a bright Mediterranean landscape, and the rough patina of a graffitied, painted, worked urban wall.
“I consider the paintings narrative abstractions that represent versions of things that may be known or unknown, visible or invisible,” Trotter states. “The paintings are constructed with an emphasis on physicality, color, and space. Through the physical process of building and re-building the surface, adding and removing marks, strokes, and layers, the paintings embody the idea that true perception requires both cognition and intuition in flux-- as does the creative process. For me, this presents a complex and subjective dynamic that is continually played out between the art and the viewer.”
Ruth Trotter is a painter and Professor of Art at the University of La Verne in Southern California. She received her B.A. from Scripps College and her M.F.A. from Claremont Graduate University. Her paintings, prints, and drawings have been exhibited nationally and internationally. As well as maintaining a studio practice and teaching, Trotter has extensive curatorial experience and has served as a panelist and advisor to several arts organizations in the Los Angeles area.
Currently considering consignments for our next live public art auction
Sunday June 5, 2016
May 07-July 02, 2016
Opening Preview May 07th 5-7pm
All research begins with an anxiety and finishes with an imbalance.
— Leon Chestov, 1938
Shoshana Wayne Gallery is pleased to present Minoan Girls by Elaine Reichek featuring sixteen new works, including three large-scale tapestries. This is the artist’s fourth solo exhibition with the gallery. The “Minoan Girls” series (2011–16) continues the exploration of Greek myth that Reichek began in her previous body of work, “Ariadne’s Thread.” It centers on the narratives of lust, seduction, betrayal, bestiality, and abandonment that determined the fates of four mythic women of Minos: Europa, Pasiphae, Phaedra, and of course Ariadne. Thread is once again the foundational conceptual link running through the series, echoing Ariadne’s gift to Theseus of the ball of thread that enabled him to navigate the Cretan labyrinth. In “Minoan Girls” Reichek focuses on the ways in which the Greek myths are continually retold and reenacted over the centuries, in the same way that sewing doubles a thread back upon itself repeatedly.
Reichek employs a wide range of mediums, including both hand and digital embroidery, silkscreen, beading, digital photography, and tapestry. She uses these methods to re-create works by artists ranging from Titian, Rubens, and Rembrandt to Gustav Klimt, Eugène Atget, André Masson, and Anni Albers, and pairs these images with quotations sampling a wide variety of literature, from Ovid, Plutarch, and Nonnus to Giorgio de Chirico, Stevie Smith, and Erika Mumford. The tones of these texts are by turns speculative, propositional, anticipatory, and ruminative. Each Minoan Girl is conscious of the part she plays and of the trajectory of her story. “You were the heroine,” says one narrator to Ariadne, who replies, “Yes, so I was and am.” This Ariadne is a diarist, shaping her own version of the narrative. Even the male protagonists—Zeus (taking the appearance of a bull), King Minos, the Minotaur, Theseus, Hippolytus—try on a succession of changing and often contradictory roles: father, son, sailor, rapist, seducer, bedfellow, husband.
Reichek helpfully supplies a Minoan Family Tree, decked out as Klimt’s “Tree of Life.” One of the best-known mythic scenarios, the Rape of Europa, is subjected to an almost diagrammatic exploration of the possibilities of narrative meaning and poetic appropriation. One pair of embroideries humorously translates the temporal layering of the “back story” into transparent needlepoint canvas. In another embroidery, the four women of the Minoan family are imagined walking hand-in-hand against a blood-red garland. This chain represents their connected fates and links their archetypal stories to countless possible future reinterpretations. Various formal and visual devices parallel the ways in which the ancient myths have been reinterpreted across centuries. For Reichek, the reiterative processes inherent in translation and interpretation are creative acts, and the movements they initiate among languages, disciplines, and materials open possibilities for new readings and meanings.
Elaine Reichek has exhibited extensively at institutions in the United States and abroad, including the Museum der Moderne, Salzburg; The Museum of Modern Art, New York; the Wexner Center for the Visual Arts, Columbus, Ohio; the Palais des Beaux-Arts, Brussels; the Irish Museum of Modern Art; Dublin; and the Tel Aviv Art Museum. She has participated in biennials worldwide including, the Whitney Biennial, New York (2012); the 30th São Paulo Biennial, São Paulo, Brazil (2012); and the Cheongju International Craft Biennial, Cheongju, Korea (2011). Reichek has been the recipient of prestigious grants and awards such as the Francis J. Greenburger Award (2013); the Smithsonian Artist Research Fellowship (2011-12); the John Simon Guggenheim Memorial Foundation Fellowship (2005); and The Louis Comfort Tiffany Foundation Award (1993). The artist lives and works in New York.
For more information contact Alana Parpal firstname.lastname@example.org
May 14 - June 18, 2016
Sloan Projects is pleased to present Elizabeth Orleans: GIANT STEPS, an installation of ceramic sculpture. This will be the artist’s first solo exhibition with the gallery.
In her latest body of work Southern California artist, Elizabeth Orleans, expands upon her minimalist repertoire, bringing geometric precision and sensual whimsy together in an installation of unpredictable ceramic objects. Monochromatic ladders glazed in crisp whites, fleshy peaches and glossy bronze, lean casually against the walls, teasing the viewer with their apparent functionality. Giant skeleton keys dangle from robust and seamless chains that appear deceitfully indestructible. And dozens of pyramidal shapes stretch across the walls in a rhythmic flourish that is simultaneously organic and abstract. Like the artist’s previous sculpture and architectural interventions, the work in Giant Steps seeks order in chaos and explores ideas of movement and the infinite possibility of time using highly concentrated shapes and a deliciously subdued palette. The significant departure surfaces in details rendered in bright colors and the addition of emblematic shapes of symbolic heft. This updated vocabulary brings the quietly abstract in concert with the archetypal in an unorthodox installation that plays melodiously across the gallery walls.
Elizabeth Orleans (b. Philadelphia, PA.) earned a Master of Fine Arts degree at California College of Arts and Crafts in Oakland, CA and a Bachelor of Fine Arts in ceramics at Tulane University in New Orleans, LA. She has also studied at Tyler School of Art in Philadelphia, Clayworks in Santa Fe, Penland School of Crafts in North Carolina, the Oregon School of Art and Craft in Portland and the Studio Art Centers International in Florence, Italy.
Her ceramic sculpture and site-specific installations have been featured in Ceramics Monthly magazine and have been exhibited at the Museum of Contemporary Art in Santa Rosa, CA, the Museum of Craft and Folk Art, San Francisco, and the Massachusetts College of Art and Design.
Elizabeth Orleans maintains a studio in Venice Beach, CA.
June 14, 2016 – July 9th, 2016
Mary McGill – Insights at the Edge
Elsie Dye Sims – North to South
Marion Wood – Location, Location!
Saturday, June 18th, 2016 from 5-8PM
Meet the Artists:
Saturday, July 2nd, 2016 at 4-7PM
Mary McGill – Insights at the Edge
Mary McGill’s debut exhibition at TAG Gallery entitled Insights at the Edge explores and challenges the many complexities and possibilities of the art of ceramics. McGill blurs the fine line between work and play with her clay sculptures, creating pieces that force her and the viewer to be present and in the moment; to pay attention to and live in the now. With a firm belief that ceramicists impose their own personalities on their work, McGill instills a sense of joy into her craft that boils over and flows onto her surreal creations.
In this series, McGill focuses on hand building and ascertaining the spiritual essence of her sculptures, while her subject matter encompasses both human and feline figures, often times mixing both to create something unique and feral.
McGill describes her work as “an expression of the spirit that dwells within.” Her figures represent changes through life experiences – their struggles, successes, and journeys. Consequently, the final product is not what society would typically deem “beautiful.” The beauty of these pieces lies in reading in between the lines and focusing on the spiritual language of the subjects; their beauty is one of dignity, courage, and strength.
Elsie Dye Sims – North to South
Elsie Dye Sims’ newest body of work, “North to South” is a visual representation of a lifetime of adventure and wonder. Moving to Los Angeles 15 years ago, Sims has attainted an appreciation for the beaches of California, their natural ecosystems, and the flora that they hold. From the more pristine natural beauty found in the North in Matador Beach to Huntington and the more populous beaches of Southern California, Sims’ exhibition is a love letter to Los Angeles and the Western shoreline.
Finely detailed, hand colored woodcuts, oil paintings, and drawings are all an expression of her love for all things organically found in nature. For Sims, the Western shore is more than a view or seascape; it has acted as a consistent catalyst for growth. While people and connections are finite, nature is permanent and constant fixture in Sims’ life. This exhibition serves to give a face to the sensation of being wonderstruck by a new and foreign locale and the splendor that opportunity can hold.
Marion Wood – Location, Location!
Marion Wood’s debut exhibition at TAG Gallery entitled “Location, Location!” was designed and executed using a careful balance of chance and fate in creation, utilizing deliberate movement to express depictions of physical locations in an abstract form. Wood utilizes broad, yet delicate motions that make the paint appear as if it has taken root and grown through the canvas, creating a dialogue where the paint lies, a sense of organic narrative, characterizing the sui generis of each location.
Architectural form, the sweep of history, and the coexistence of chaos and orderliness are all elements that were used to develop Wood’s compositions, which all seemingly teem with life.
The joy and the pain of creation is another duality explored in this series of work. The physical act of painting, a visceral and explorative undertaking, serves as the core connection to each piece. Wood chooses to inhabit and navigate her paintings, moving within them the way one would inhabit a location in the more traditional sense; by wandering, searching, reveling, taking risks, failing, feeling the natural flow, and getting messy. Wood encourages the viewer to wander through these pieces as well, and establish their own connections.
For nearly 30 years, William A. Karges Fine Art has been the preeminent art dealer specializing in early California and American paintings. With galleries in Carmel and Santa Monica, Karges Fine Art carries one of the most varied, high-quality, historically significant inventories of paintings available on the West Coast. Karges Fine Art is also the exclusive representative of Dennis Doheny, considered by many to be the finest realist landscape painter working in California today.
Ed Moses MOSES@90
April 30 - June 25, 2016
William Turner Gallery is pleased to present Moses@90, an expansive survey exhibition that will present Ed Moses' innovation in drawing and painting. The installation will occupy two venues: William Turner Gallery and the former Santa Monica Museum of Art building at Bergamot Station.
On the occasion of Moses' 90th birthday, the exhibition will celebrate the varied and prolific career of this indelible Los Angeles art world fixture. A painter and "mutator", whose allegiances have been to tireless experimentation rather than to the tenets of any one movement, Ed Moses has been honing a distinct visual vocabulary for over 60 years, obsessively mining the possibilities of abstraction. At 90, Moses continues his dogged search for the elusive metaphysical power of painting, creating works that are about the expression of temporality, process and presence, beyond the physical limitations of surface.
The exhibition will survey works spanning the entirety of Moses' career, including a selection of never before seen paintings. Earliest examples include meticulous architecturally inspired drawings from the 50s, the well-known Rose and patterned graphite drawings from the 1960s and 70s, cross hatch and screen paintings, looser gestural paintings from the 1990s, and more recent works that include the craquelure and mirror paintings. The restless energy with which Moses has borrowed from pre-existing formal vocabularies and adapted their morphologies to make them his own, attest to the mutable nature of his vision. A self-described "mark maker," his concerns exceed formal ones and slip easily into philosophical and anthropological spaces. He has described his own process as a shamanistic offering, a self-assertion and proof of existence left for posterity to the "tribe"; a primitive desire to leave one's mark. Above all else, the work is about the process of making, and the fragile reconciliation of chaos and control it requires. In Moses' own words: "The point is not to be in control, but to be in tune."
A member of the original stable of artists showing at LA's legendary Ferus gallery, Moses exhibited there for the first time while still an MFA student at UCLA in 1958. Exhibiting among the likes of Billy Al Bengston, Robert Irwin, Ed Kienholz, Larry Bell, and John Altoon, all of whom became known as the fabled "Cool School," Moses was among those who shaped the infancy of the West Coast art scene. A maverick among them, given his preference for process driven abstraction over strict adherence to the Finish Fetish and Light and Space movements championed at the time, Moses has always done things a bit differently. With an itinerant aesthetic, he has continued to embrace transformation and change as a matter of course. In 1974, following an exhibition in New York with André Emmerich, Clement Greenberg himself immortalized Moses as a "player."
Ed Moses works daily, preferring to create out of doors en plein air. His unique Venice, California studio accommodates this freedom structurally with fluid transitions between indoor and outdoor spaces. This is the artist's third exhibition with William Turner Gallery. Previous exhibitions include, Ed Moses: Now and Then (2015), and Ed Moses & Larry Poons: The Language of Paint (2014).